Pygmalion  Solo exhibition, 28 October-30 November 2016 Sullivan+Strumpf, Singapore    Pygmalion Effect , 2016 Fameg Bentwood chair, Statuario. 90 x 40 x 54 cm   Golem Effect , 2016 Fameg Bentwood chair, Pillsborough Green, Wombeyan nylon digital print, steel and string. 90 x 40 x 54 cm  In Roman mythology Pygmalion was a sculptor who fell in love with a statue he had carved. The Pygmalion effect is the phenomenon in which higher expectations lead to an increase in performance. Its inverse is the Golem effect, by which low expectations lead to a decrease in performance. Both effects are forms of a self-fulfilling prophecy, both observable effects at play in a world divided by the privilege of circumstances.   Using these themes Seton uses antique and modern Bentwood chairs, along with his familiar medium of marble, to replace components with carved marble objects and digitally printed plastic proxies, creating a series of hybrids of the mass-produced combined with the hand made. The prostheses will simultaneously repair and corrupt their original forms and function for a poetic narrative of expectation and transformation.    Photography: Hellene Algie

Pygmalion
Solo exhibition, 28 October-30 November 2016
Sullivan+Strumpf, Singapore

Pygmalion Effect, 2016
Fameg Bentwood chair, Statuario.
90 x 40 x 54 cm

Golem Effect, 2016
Fameg Bentwood chair, Pillsborough Green, Wombeyan nylon digital print, steel and string.
90 x 40 x 54 cm

In Roman mythology Pygmalion was a sculptor who fell in love with a statue he had carved. The Pygmalion effect is the phenomenon in which higher expectations lead to an increase in performance. Its inverse is the Golem effect, by which low expectations lead to a decrease in performance. Both effects are forms of a self-fulfilling prophecy, both observable effects at play in a world divided by the privilege of circumstances.


Using these themes Seton uses antique and modern Bentwood chairs, along with his familiar medium of marble, to replace components with carved marble objects and digitally printed plastic proxies, creating a series of hybrids of the mass-produced combined with the hand made. The prostheses will simultaneously repair and corrupt their original forms and function for a poetic narrative of expectation and transformation.  

Photography: Hellene Algie

  Pygmalion Effect , 2016 Fameg Bentwood chair, Statuario. 90 x 40 x 54 cm

Pygmalion Effect, 2016
Fameg Bentwood chair, Statuario.
90 x 40 x 54 cm

  Golem Effect , 2016 Fameg Bentwood chair, Pillsborough Green, Wombeyan nylon digital print, steel and string. 90 x 40 x 54 cm

Golem Effect, 2016
Fameg Bentwood chair, Pillsborough Green, Wombeyan nylon digital print, steel and string.
90 x 40 x 54 cm

  Bentwood Hybrids , 2016 Antique Viennese Thonét Bentwood and Bianca Carrara. 94 x 41 x 50 cm each

Bentwood Hybrids, 2016
Antique Viennese Thonét Bentwood and Bianca Carrara.
94 x 41 x 50 cm each

  Bentwood Hybrids , 2016 (detail) Antique Viennese Thonét Bentwood and Bianca Carrara. 94 x 41 x 50 cm each

Bentwood Hybrids, 2016 (detail)
Antique Viennese Thonét Bentwood and Bianca Carrara.
94 x 41 x 50 cm each

  Bentwood Hybrids , 2016 (detail) Antique Viennese Thonét Bentwood and Bianca Carrara. 94 x 41 x 50 cm each

Bentwood Hybrids, 2016 (detail)
Antique Viennese Thonét Bentwood and Bianca Carrara.
94 x 41 x 50 cm each

  Build it and they will come , 2016 Fameg Bentwood, Bianca Carrara and Pearl. 90 x 40 x 56 cm

Build it and they will come, 2016
Fameg Bentwood, Bianca Carrara and Pearl.
90 x 40 x 56 cm

  If a tree is recreated in a gallery..  ,2016 Fameg Bentwood, Bianca Carrara and Pillsborough Green. 102 x 40 x 54 cm

If a tree is recreated in a gallery.. ,2016
Fameg Bentwood, Bianca Carrara and Pillsborough Green.
102 x 40 x 54 cm

  Force Majeure , 2016 Fameg Bentwood, Badiglio marble, Katoomba green 90 x 40 x 54 cm

Force Majeure, 2016
Fameg Bentwood, Badiglio marble, Katoomba green
90 x 40 x 54 cm

  There's no accounting for taste..  , 2016 Fameg Bentwood, Bianca Carrara, Wombeyan, watercolour, electronics.  90 x 63 x 54 cm

There's no accounting for taste.. , 2016
Fameg Bentwood, Bianca Carrara, Wombeyan, watercolour, electronics. 
90 x 63 x 54 cm

  There's no accounting for taste..  , 2016 Fameg Bentwood, Bianca Carrara, Wombeyan, watercolour, electronics.  90 x 63 x 54 cm

There's no accounting for taste.. , 2016
Fameg Bentwood, Bianca Carrara, Wombeyan, watercolour, electronics. 
90 x 63 x 54 cm

  Whatever it is, I'm against it , 2016 Fameg Bentwood, Pisanino, Wombeyan, China brown, megaphone, watercolour 90 x 40 x 54 cm

Whatever it is, I'm against it, 2016
Fameg Bentwood, Pisanino, Wombeyan, China brown, megaphone, watercolour
90 x 40 x 54 cm

  Maker's mark , 2016 Fameg Bentwood, marble dust, Nero Marqina, China Brown, Wombeyan. 90 x 40 x 54 cm

Maker's mark, 2016
Fameg Bentwood, marble dust, Nero Marqina, China Brown, Wombeyan.
90 x 40 x 54 cm

  Meno's Paradox , 2016 Fameg Bentwood, Wombeyan.  90 x 40 x 54 cm

Meno's Paradox, 2016
Fameg Bentwood, Wombeyan. 
90 x 40 x 54 cm

  Hazards of success,  2016 Fameg Bentwood, Yass Black, Wombeyan, Tasmanian oak. 202 x 37 x 37 cm

Hazards of success, 2016
Fameg Bentwood, Yass Black, Wombeyan, Tasmanian oak.
202 x 37 x 37 cm

  Hazards of failure  2016 Fameg Bentwood, Bianca Carrara, Wombeyan, Tasmanian oak. 202 x 37 x 37 cm

Hazards of failure 2016
Fameg Bentwood, Bianca Carrara, Wombeyan, Tasmanian oak.
202 x 37 x 37 cm

     Hazards of failure,  2016 Fameg Bentwood, Bianca Carrara, Wombeyan, Tasmanian oak. 202 x 37 x 37 cm   Hazards of success , 2016 Fameg Bentwood, Yass Black, Wombeyan, Tasmanian oak. 202 x 37 x 37 cm

 

Hazards of failure, 2016
Fameg Bentwood, Bianca Carrara, Wombeyan, Tasmanian oak.
202 x 37 x 37 cm

Hazards of success, 2016
Fameg Bentwood, Yass Black, Wombeyan, Tasmanian oak.
202 x 37 x 37 cm

  Pygmalion  Solo exhibition, 28 October-30 November 2016 Sullivan+Strumpf, Singapore    Pygmalion Effect , 2016 Fameg Bentwood chair, Statuario. 90 x 40 x 54 cm   Golem Effect , 2016 Fameg Bentwood chair, Pillsborough Green, Wombeyan nylon digital print, steel and string. 90 x 40 x 54 cm  In Roman mythology Pygmalion was a sculptor who fell in love with a statue he had carved. The Pygmalion effect is the phenomenon in which higher expectations lead to an increase in performance. Its inverse is the Golem effect, by which low expectations lead to a decrease in performance. Both effects are forms of a self-fulfilling prophecy, both observable effects at play in a world divided by the privilege of circumstances.   Using these themes Seton uses antique and modern Bentwood chairs, along with his familiar medium of marble, to replace components with carved marble objects and digitally printed plastic proxies, creating a series of hybrids of the mass-produced combined with the hand made. The prostheses will simultaneously repair and corrupt their original forms and function for a poetic narrative of expectation and transformation.    Photography: Hellene Algie
  Pygmalion Effect , 2016 Fameg Bentwood chair, Statuario. 90 x 40 x 54 cm
  Golem Effect , 2016 Fameg Bentwood chair, Pillsborough Green, Wombeyan nylon digital print, steel and string. 90 x 40 x 54 cm
  Bentwood Hybrids , 2016 Antique Viennese Thonét Bentwood and Bianca Carrara. 94 x 41 x 50 cm each
  Bentwood Hybrids , 2016 (detail) Antique Viennese Thonét Bentwood and Bianca Carrara. 94 x 41 x 50 cm each
  Bentwood Hybrids , 2016 (detail) Antique Viennese Thonét Bentwood and Bianca Carrara. 94 x 41 x 50 cm each
  Build it and they will come , 2016 Fameg Bentwood, Bianca Carrara and Pearl. 90 x 40 x 56 cm
  If a tree is recreated in a gallery..  ,2016 Fameg Bentwood, Bianca Carrara and Pillsborough Green. 102 x 40 x 54 cm
  Force Majeure , 2016 Fameg Bentwood, Badiglio marble, Katoomba green 90 x 40 x 54 cm
  There's no accounting for taste..  , 2016 Fameg Bentwood, Bianca Carrara, Wombeyan, watercolour, electronics.  90 x 63 x 54 cm
  There's no accounting for taste..  , 2016 Fameg Bentwood, Bianca Carrara, Wombeyan, watercolour, electronics.  90 x 63 x 54 cm
  Whatever it is, I'm against it , 2016 Fameg Bentwood, Pisanino, Wombeyan, China brown, megaphone, watercolour 90 x 40 x 54 cm
  Maker's mark , 2016 Fameg Bentwood, marble dust, Nero Marqina, China Brown, Wombeyan. 90 x 40 x 54 cm
  Meno's Paradox , 2016 Fameg Bentwood, Wombeyan.  90 x 40 x 54 cm
  Hazards of success,  2016 Fameg Bentwood, Yass Black, Wombeyan, Tasmanian oak. 202 x 37 x 37 cm
  Hazards of failure  2016 Fameg Bentwood, Bianca Carrara, Wombeyan, Tasmanian oak. 202 x 37 x 37 cm
     Hazards of failure,  2016 Fameg Bentwood, Bianca Carrara, Wombeyan, Tasmanian oak. 202 x 37 x 37 cm   Hazards of success , 2016 Fameg Bentwood, Yass Black, Wombeyan, Tasmanian oak. 202 x 37 x 37 cm

Pygmalion
Solo exhibition, 28 October-30 November 2016
Sullivan+Strumpf, Singapore

Pygmalion Effect, 2016
Fameg Bentwood chair, Statuario.
90 x 40 x 54 cm

Golem Effect, 2016
Fameg Bentwood chair, Pillsborough Green, Wombeyan nylon digital print, steel and string.
90 x 40 x 54 cm

In Roman mythology Pygmalion was a sculptor who fell in love with a statue he had carved. The Pygmalion effect is the phenomenon in which higher expectations lead to an increase in performance. Its inverse is the Golem effect, by which low expectations lead to a decrease in performance. Both effects are forms of a self-fulfilling prophecy, both observable effects at play in a world divided by the privilege of circumstances.


Using these themes Seton uses antique and modern Bentwood chairs, along with his familiar medium of marble, to replace components with carved marble objects and digitally printed plastic proxies, creating a series of hybrids of the mass-produced combined with the hand made. The prostheses will simultaneously repair and corrupt their original forms and function for a poetic narrative of expectation and transformation.  

Photography: Hellene Algie

Pygmalion Effect, 2016
Fameg Bentwood chair, Statuario.
90 x 40 x 54 cm

Golem Effect, 2016
Fameg Bentwood chair, Pillsborough Green, Wombeyan nylon digital print, steel and string.
90 x 40 x 54 cm

Bentwood Hybrids, 2016
Antique Viennese Thonét Bentwood and Bianca Carrara.
94 x 41 x 50 cm each

Bentwood Hybrids, 2016 (detail)
Antique Viennese Thonét Bentwood and Bianca Carrara.
94 x 41 x 50 cm each

Bentwood Hybrids, 2016 (detail)
Antique Viennese Thonét Bentwood and Bianca Carrara.
94 x 41 x 50 cm each

Build it and they will come, 2016
Fameg Bentwood, Bianca Carrara and Pearl.
90 x 40 x 56 cm

If a tree is recreated in a gallery.. ,2016
Fameg Bentwood, Bianca Carrara and Pillsborough Green.
102 x 40 x 54 cm

Force Majeure, 2016
Fameg Bentwood, Badiglio marble, Katoomba green
90 x 40 x 54 cm

There's no accounting for taste.. , 2016
Fameg Bentwood, Bianca Carrara, Wombeyan, watercolour, electronics. 
90 x 63 x 54 cm

There's no accounting for taste.. , 2016
Fameg Bentwood, Bianca Carrara, Wombeyan, watercolour, electronics. 
90 x 63 x 54 cm

Whatever it is, I'm against it, 2016
Fameg Bentwood, Pisanino, Wombeyan, China brown, megaphone, watercolour
90 x 40 x 54 cm

Maker's mark, 2016
Fameg Bentwood, marble dust, Nero Marqina, China Brown, Wombeyan.
90 x 40 x 54 cm

Meno's Paradox, 2016
Fameg Bentwood, Wombeyan. 
90 x 40 x 54 cm

Hazards of success, 2016
Fameg Bentwood, Yass Black, Wombeyan, Tasmanian oak.
202 x 37 x 37 cm

Hazards of failure 2016
Fameg Bentwood, Bianca Carrara, Wombeyan, Tasmanian oak.
202 x 37 x 37 cm

 

Hazards of failure, 2016
Fameg Bentwood, Bianca Carrara, Wombeyan, Tasmanian oak.
202 x 37 x 37 cm

Hazards of success, 2016
Fameg Bentwood, Yass Black, Wombeyan, Tasmanian oak.
202 x 37 x 37 cm

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